Jump to ContentJump to Main Navigation
We’ll Have ManhattanThe Early Work of Rodgers & Hart$
Users without a subscription are not able to see the full content.

Dominic Symonds

Print publication date: 2015

Print ISBN-13: 9780199929481

Published to Oxford Scholarship Online: May 2015

DOI: 10.1093/acprof:oso/9780199929481.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 29 November 2021

Pleasing the Producers

Pleasing the Producers

Herbert Fields, Lew Fields, and The Girl Friend (1926)

(p.109) 4 Pleasing the Producers
We’ll Have Manhattan

Dominic Symonds

Oxford University Press

The success of Dearest Enemy in 1925 prompted interest from producers. For the first time Rodgers and Hart found themselves having to collaborate with the money men. This chapter considers the role of the producer in Broadway musical theater of the time, discussing the influence of Charles Dillingham and Florenz Ziegfeld in creating vehicles for star performers. Rodgers and Hart would later work with both these producers, but first they continued their partnership with Lew Fields. In producing their promising show The Girl Friend, written by his son Herbert Fields, Lew would take a prominent role in steering its development. Although it spawned song hits in “Blue Room” and “The Girl Friend,” and although it sustained a decent run of over 300 performances showcasing popular vaudeville stars Sam White and Eva Puck, The Girl Friend had been harshly edited by Fields, and in transfer to London it was completely rewritten.

Keywords:   Herbert Fields, Lew Fields, The Girl Friend, Blue Room, Charles Dillingham, Florenz Ziegfeld, producers

Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .